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Degrees of Attention in Experiencing Art

100%

Mortu A.

2018

tom 55 (New Series 11)

nr 1

This paper examines gradients of attention in relation to aesthetic appreciation. My main claim is that we should leave open the possibility that aesthetic response might be triggered by stimulations taking place far from the centre of one’s focused attention. In support of this claim I first discuss the notion of ‘periphery of attention’ and the challenges that it poses to contemporary psychological theories of aesthetics. I provide four criteria for differentiating between several types of attentional processes and then proceed to single out the characteristics of non-focal types of attention(-related) processes with varying intensity such as pre-attentive processing, the mere exposure effect and psychic overtones. Finally, I reassess the periphery of attention in the light of its relation to aesthetic appreciation. I hold that given certain constraints such as repeated exposure, perceptual learning, encoding in long-term memory, and possibility of retrieval, subdued, inconspicuous forms of stimulation can elicit aesthetic responses.

Krakow Book Forum: Stephen Davies’s The Artful Species

100%

Davies S. , van Damme W. , Dissanayake E. , Mellmann K. , Luty J.

Estetika: The Central European Journal of Aesthetics

2014

tom 51

nr 1

85-127

Except for Katja Mellmann’s and Ellen Dissanayake’s contributions, all the presented essays began as presentations given at a panel discussion on Stephen Davies’s The Artful Species at the 19th International Congress of Aesthetics in Krakow, Poland (July 21–27, 2013).

Sztuka Wielkiej Awangardy - sztuka intelektualnej rozkoszy?

88%

Michna N. A.

Estetyka i Krytyka

2016

nr 1(40)

43-54

The article consists of an analysis of the Great Avant-garde art as an exclusive (addressed to a narrow audience) aesthetic experience, which aims in conscious culmination of aesthetic pleasure. The analysis is presented in the perspective of philosophical reflections on avant-garde art of Spanish philosopher José Ortega y Gasset. The adopted research perspective allows to identify the main features characterizing and distinguishing the Great Avant-garde art, but also to scratch basic conditions of intellectualist revolution in European art at the beginning of the twentieth century. The revolution was closely associated with the ideal of elitism of art which was widely described by Ortega y Gasset in “Dehumanization of art” (1925).

Aesthetic Insight: The Aesthetic Value of Damaged Environments

63%

Alcaraz L. , María J.

Estetika: The Central European Journal of Aesthetics

2013

tom 50

nr 2

169-187

In this article I start by assuming that positive aesthetic experiences of damaged nature are possible and I argue for the idea that the aesthetic pleasure derived from that contemplation might reveal something of the environment’s overall character. I hope to show that positive aesthetic experiences sometimes help to promote emotional attitudes that can lead to insight into the configuration of other non-aesthetic attitudes. In order to do so, I critically appeal to some of the thoughts Kant articulated about the notion of aesthetic experience and its relationship to cognition and morality. I think that the sort of experience I am after in this article cannot be easily accommodated within a Kantian framework and that the possibility of positive aesthetic experience of damaged nature will show that the relationships between the aesthetic and the cognitive or the moral are more complex and enriching than they have so far been acknowledged to be.